('77-'79)   35 WPC    $375   (perfect)

In absolutely perfect cosmetic and operating condition (like new actually), this Yamaha CR-620 "Natural Sound" receiver is at (or near) the top of the list when it comes to stunning exterior receiver designs in the late 70's.  It has that recognizable classic Yamaha styling and the very cool "Envoy" veneer case.

Besides the usual intensive bench servicing, this CR-620 also has new output transistors.   All inputs, outputs, switches and lamps are fully functional and it has new lamps for the dial glass / signal / tuning meters.  In low light conditions, the front panel casts a pleasing blue-green glow.

Like all the "Natural Sound" units, the CR-620 was well respected back then (and now).  It was one of Yamaha's best selling mid-range units from 1977-1979. 

Because of its design, it appears larger than most of the competition in this class size.  It puts out a conservative minimum of 35 watts per channel into 8 ohms and 45 WPC into 4 ohms with a very low 0.015% total harmonic distortion.

NOTE:  During the 70's, the "average" buyer of stereo receivers was in the 35-40 watt per channel range.  Because that was enough power needed to anchor a good system, most of the competition was focused in that area.  It wasn't until Pioneer broke open that "magical" 100 watt per channel threshold with their SX-1010 that everything changed.

The overall interior build enables the CR-620 to use that power cleanly and effectively with an absolute minimum of distortion.  It's also "tech friendly" with its neat layout, easy to reach boards, pots and adjustments.

Unique to the CR series was Yamaha's "Continuously-Adjustable Loudness" control.   Simply explained, once you set your comfortable volume level (with the volume knob) you just use the loudness control thereafter.  It continuously adjusts the correct amount of bass no matter what the level of sound.

Basic specs:
Power output: 35 watts per channel into 8 ohms & 45 into 4 ohms
Frequency response: 20Hz to 20kHz
THD: 0.05%
Speaker load impedance: 4 ohms (minimum)
Dimensions: 20"W x 6.5"H x 15.5"D
Weight: 28 lbs

('79-'81)  100 WPC into 4 ohms     $700  (perfect)

In stellar cosmetic condition and fully operational, this beautiful Yamaha CR-1040 has been completely and carefully serviced.  The protection circuit has new transistors and the tone board has been partially recapped.  The meters have been calibrated.  It has been upgraded with the very desirable "cool green" lamps across the faceplate glass.  The gorgeous dark rosewood veneer cabinet appears as new.  It's truly a gorgeous receiver when viewed in person.  Photos just don't do it justice.

The most likely King of the Yamaha family at the time was the CR-2040 but the "Prince" is probably the CR-1040.  You might get some arguments from owners of the CR-1020 but the CR-1040 could probably be considered a bit of an upgrade given its size and higher power output. In 1979 it retailed for close to $500 which was a hefty sum of money back then.  Underrated at 80 watts per channel into 8 ohms and a solid 100 watts per channel into 4 ohms, it has less than 0.02% THD.

Many would say that the CR-1020 is a better looking receiver but that the CR-1040 has a better sound?  These are discussions that go and on.  Besides, it's almost always about the speakers anyway.
Some of the best features are the inputs for either MM or MC phono connections and adjustable cartridge matching.  Also the unique triple meters that can switch from L/R power meters or FM tuning and signal strength.

The CR-1040 is one of Yamaha’s “Natural Sound” receivers and when one usually listens to one of these receivers for the first time it may sound as though it’s lacking a little in bass.  The reality most likely is that other receiver manufacturers “color” their circuitry to emphasize more bass so that’s what many listeners are used to hearing. The Yamaha circuitry does not do this so you are hearing the sound closer to how it is actually supposed to sound. 

That's where Yamaha's famous *continuously variable loudness control comes in.  Among Yamaha's most significant features is the continuously variable loudness control. By using this control, the frequency balance and volume are adjusted simultaneously to compensate for the ear's insensitivity to high and low frequency sound at low volume settings. Thus, you can retain a natural-sounding balance regardless of listening level.
*NOTE: How does Yamaha's Loudness control work?
Theoretically, the degree of loudness compensation should vary with the listening level: The greater the reduction from "real" sonic levels, the greater the compensation. In the Yamaha CR-1040, you first turn up the loudness all the way and set the volume control to the highest listening level you'd be likely to want, which will, of course, depend on your taste, the efficiency of your speakers and the acoustics and size of your room. For subsequent level adjustments, turn down the loudness, which boosts the lows and, to a smaller extent, the extreme highs relative to the midband to maintain a natural sounding balance.

Main features:
Triple tone controls with variable contours for each
Variable loudness
Meter: Level / Signal
Filters: High, Low
Phono selector: MC/MM/33/47/68/100 kOhms
3 extra power outlets, switched / unswitched

Basic specs:
Dimensions:  23"W x 16"D x 6.5"H
Weight: 37 lbs

About Yamaha...(1972 and later)
One of the most famous brands in the world, Yamaha had its fingers in so many different products...yet somehow managed to carve out a healthy slice of praise from audiophiles in regards to their electronics.  From the incredible Yamaha CA-1000 integrated amp that whipped up a whirlwind and brought Yamaha recognition in the audio world, to the AX-2000A amp that, after groping around with digital technology, managed a comeback to pure analog.  The very successful "Natural Sound" marketing in the 70's brought Yamaha into direct competition with Pioneer, Marantz and almost all the other great companies of the era.

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(1979)  20 WPC  $275 (perfect)

In absolutely pristine cosmetic condition, fully serviced and fully operational, this Pioneer SX-580 was (at the time) considered Pioneer's "entry level" receiver in the SX-X80 series. 

Even though it's rated at "only" 20 watts per channel, it's what it can do with the power it has.  The 580 is a Pioneer through and through; it has an excellent build quality, proving to be more than enough to anchor almost any smaller system.  The 580 pushes its power rating up to 25 watts per channel into 4 ohms; it does not fear driving acceptable 4 ohm speakers. 

It has been upgraded with "cool blue" LEDs which gives it a pleasing glow in low light situations.

The SX-580 has fully functional, easy-to-read left & right power meters plus a separate meter for FM tuning; that was almost unheard of in its class.  Its classic Pioneer faceplate styling is universally recognized with its solid, heavy metal knobs, stylish and classy framed glass window and walnut veneer case.  It also has inputs for phono, aux and tape and is easily capable of driving two pairs of efficient speakers.

Essentially, when compared to the cost cutting measures required in the digital '80's and beyond, it is completely honest to say that the pure analog Pioneer SX-580 can easily hold its own as a tough "little" survivor from the Golden Age of HiFi.

Last, but certainly not least, this SX-580 has a wonderful reputation and a build quality that continues to this day, almost 45 years after it came out of the box.

Specs:
Power output: 20 WPCl into 8 ohms / 25 WPC @ 4 ohms
Frequency response: 5Hz to 100kHz
THD: 0.3%
Speaker load impedance: 4 ohms minimum
Dimensions: 17"W x 5.6"H x 12.3"D
Weight: 18 lbs

('76-'78) 110 WPC @ 4  $1250 firm (partial recap)

Obtained locally, this Pioneer SX-950 was "rescued " from a long life in a workshop environment.  As such, it required a complete disassembly on the bench.  It has been completely disassembled and tediously serviced from the top to bottom, inside and out.

As shown in the photos, the boards were removed to get to some of those well hidden pots.  The line bias plus DC offset was checked/adjusted. 
The unit has been partially recapped.  It was then reassembled and thoroughly tested.  Everything is perfectly functional.  Cosmetically, it's in very good condition with a few battle scars on the back of the walnut veneer case.

The faceplate and glass (on both sides) were cleaned and hand polished.  The factory wood case was restored to a presentable condition. The metal vent was removed, sanded and refinished with a soft iron coating before being reinstalled.  New cool blue LEDs were installed.

The Pioneer SX-950 is a pure example of some of the best Japanese technology available towards the late and very competitive 70's.  Pioneer had buckets of cash invested in their design and marketing departments, more than enough to push their brand into so many different media that practically anybody with a set of ears knew who they were.  

The 950 was one of Pioneer's upper level units in the crazy popular SX-50 series of receivers.  By most accounts, these were the "best" receiver series from Pioneer.  That's argumentative for sure but, regardless, Pioneer was still the king when it came to popularity.  In sheer numbers alone, they pretty much sold more units than anybody.

There's a lot of history regarding the SX-950. It's a very well known beauty with a great build quality, great FM and excellent sonics.  Like many Pioneers, this one has a solid middle chassis with a nice design; simple, quiet and very sweet-sounding.  Other than the actual power board design differences, the 950 has a very similar layout in comparison to its brethren SX-1050 or SX-1250, and, as such, it performs very, very well...sensitive and musical, too.  

Rated at a conservative 85 watts per channel (8 ohms), it approaches 100 watts before onset of clipping.  The 950 is not afraid of driving difficult 4 ohm loads either, it's rated at minimum 110 watts per channel at 4 ohms. 

There's a lot of online info regarding the history, specs and trivia about the SX-950. 
So, besides that wonderful weighted analog flywheel tuning, here are some of the main features:
~smooth volume control (no notches)
~high & low filter switches
~selectable crossover points for bass/treble adjustments
~preamp/amp in / out jumpers
~outputs for three pairs of speakers    

The Pioneer SX-950 remains one of the best receivers we've seen...and we've seen a lot!

Basic specs:
Power output: 85 WPC into 8 ohms / 110 WPC into 4 ohms
Frequency response: 15Hz to 40kHz
THD: 0.1%
Speaker load impedance: 4 ohms minimum
Dimensions: 21"W x 6.8"H x 16.2"D
Weight: 42 lbs

integrated amp ('73-'76)  20 WPC @ 8 / 24 WPC @ 4  $450

Obtained from the original owner, this Pioneer SA-7100 was best described as their "advanced stereo integrated amplifier."  In excellent cosmetic condition, it has been extensively serviced, thoroughly tested and is fully operational.  It includes the factory walnut veneer case.  This particular amp is one of their dual voltage units.

Most of the reviews for the SA-7100 agreed it was "practically overbuilt" considering its modest power rating of 20 watts per channel into 8 ohms (24 WPC into 4 ohms).  The superior build quality of this low powered integrated amp basically stumped the competition at first.  Everyone scrambled to try and figure out how Pioneer could build this kind of equipment at such a competitive price.  It has outputs for two turntables, two auxiliary, two tape PLUS it has jumpers for pre-out/amp as well!  That was an incredible amount of features for "just" a 20 watt-per-channel unit.

For those that look at just watts, you'd be missing out on what this superb integrated amp can handle.  Features include a 3-stage direct coupled equalizer section, FET equipped tone control amplifier section, turnover frequency selectors and a reliable automatic protection circuit.

Pioneer recommended the SA-7100 in its 1974 catalog as “an extremely user-friendly modern HiFi amplifier”. Additionally, in the case of this model, we cannot forget about the pleasure of use, considering its beautiful simple brushed aluminum panel and high quality knobs and switches.

During its very successful production run, Pioneer could point to the SA-7100 as a perfect example why they were number one in sales during the fiercely competitive 70's (otherwise known as the "Golden Age of HiFi".)  

Basic specs:
Power output: 20 watts per channel @ 8 ohms / 24 WPC @ 4 ohms
Frequency response: 7Hz to 80kHz
THDn: 0.5%
Dimensions: 17"W x 6"H x 13.5"D
Weight: 23 lbs

About Pioneer...
Not much needs to be said about Pioneer other then the simple fact that the name is known worldwide for above average quality and excellence in high fidelity component design.  They were the unchallenged leader in stereo advertising and marketing in the 70's.  Back in the day, Pioneer made it clear that if you didn't have a Pioneer stereo system in your house (or college dorm) you just didn't have the right stuff.

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preamp ('89-'98)  $500

In perfect operating and cosmetic condition, this Adcom GFP-565 preamp is one of their more highly rated units. 

No doubt, the world is filled with excellent, high quality stereo amps but, essentially, they are useless without an equally excellent pre-amp.  An amp is merely a chunk of power waiting for the preamp to spread that power in a direct and satisfying manner.
In this aspect, the GFP-565 is a sensible and smart companion to almost any high quality amp.  Included is the original factory owner's manual.

The GFP-565 has three sets of outputs: Main (Normal and Lab) and Bypass. Although the tone controls can be switched out of circuit when the preamp is used from its Main outputs, the Bypass outputs omit all the tone control and feature switching and are recommended for the best sound quality.

The GFP-565 can either offer a Class B or a Class C sound, depending on whether its owner wants to use it as a basic, no-frills preamplifier via its Bypass outputs, or as a full-featured control center via its Main outputs.

Basic specs:
Frequency response: 5Hz to 90kHz
THD: 0.0025%
Dimensions: 17"W x 12.5"D x 3.3"H
Weight: 11 lbs

power amp (2011)  200 WPC  $700

In perfect operating and cosmetic condition, this Adcom GFA-555ms pumps out 200 watts into 4 ohms.
It takes both unbalanced and balanced inputs and drives your speakers with 125 watts per channel (into 8 ohms) of high performance, ultra low distortion power output all from a neat package. 
Technically speaking, Adcom engineered an uncompromised circuit design that delivers ultra-low distortion and a crisp dynamic sound.   Great care was taken to ensure that distortion in the 555MS would remain extremely low, particularly when driving these highly reactive loads in which the phase angles of the voltage and the current are substantially different.

Basic specs:
125 watts into 8 ohms
200 watts into 4 ohms
Frequency Resp:  @ 1watt, 8-ohms: +0. -0.25dB, 10Hz to 20kHz
Power Bandwidth (-3dB): 10Hz to 100k
Dimensions: 6”H x 17”W x 12.5”D
Weight: 28.6 lbs.

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integrated amp (1973)  20 WPC @ 4 ohms  $150 (partial recap)

Simplicity defined:  This Heathkit AA-1214 integrated amp is small in size but, since the power board has been recapped, it's certainly capable of driving most any pair of efficient bookshelf speakers.
It's rated at a nominal 15 watts per channel into 8 ohms and about 20 watts per channel into 4 ohms.  All the inputs and outputs are fully functional.
The cosmetics could be better but since part of the lettering over the volume and balance knobs has worn away, it is what it is.  Regardless, the faceplate glass, original knobs, real timberwood side panels and textured metal top are all in very good condition.

This is an inexpensive way to get going on a vintage system with the Heathkit providing a solid anchor.  As mentioned above, it's all about the right choice of speakers.

Basic specs:
Dimensions: 17"W x 3.9"H x 13"D
Weight: 14 lbs

About Heath...
There once was a time in electronics when you could actually build circuits and equipment yourself. You needed a design that you could create yourself—or if not, get from one of many magazines, including Electronic Design. You could buy the resistors, capacitors, transistors, or tubes in the olden days, then put them all together on a metal chassis, a breadboard, or a finished printed-circuit board (PCB). It was quite a project but doable, and many hobbyists like hams built these designs on a regular basis.

In the late 1940s and 1950s, someone invented the kit business. Companies designed a product and sold it as a bundle of parts called a kit. You could buy the kit for a fraction of what a comparable wired unit would cost and then build it yourself. The outcome was quite favorable—a workable electronic product and a great sense of accomplishment you got from the construction.

Heath was one of those companies that helped start the kit business. Ed Heath founded the company in 1926 with, of all things, an airplane kit. He died in a test flight in 1935, but Howard Anthony kept the company going. Right after World War II, he bought a batch of electronic surplus. Out of that came one of the first successful kits, a small oscilloscope for $50, which was a real achievement in its time. With that success came many new products.

Heathkit probably succeeded more on its ham radio products than anything else. Most of the early kits were shortwave radios, transmitters, accessories like antenna tuners, and the famous Cantenna, a 1-kW non-inductive power resistor in a paint can with mineral oil for the heatsink. Heathkit went on to create an extensive line of small and large transceivers and big power amps, many of which are still operational today.

The Successful Years

Later in the 1950s and 1960s, Heathkit expanded into audio equipment, TV sets, and lots of other consumer products. The company even had a low-cost line of test equipment with scopes, multimeters, generators, counters, and other items. While Heathkit had competitors like Allied Knight, Lafayette, Eico, and a few other smaller companies, it essentially beat the pants off everyone else because it had a better product.

But Heathkit’s good reputation really came from offering a better assembly manual than anyone else. A poorly executed step-by-step manual is a prescription for disaster for any kit company. If the customer can’t build the kit successfully without massive telephone and mail support, it would die a quick death, and many did. Heathkit figured this out early and spent as much development time in the manual as it did engineering the product. Its primary marketing message was “We won’t let you fail,” and the company lived up to it.

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('78-'79)  75 WPC / 105 WPC  $700

We are fortunate to have obtained this massive Toshiba SA-775 receiver because they are as rare as hen's teeth.  Cosmetics are excellent.  The walnut veneer case is very clean and the metal vent was removed, stripped, sanded and refinished with a beautiful metallic soft iron coating. 

On the inside, this unit has been completely disassembled and thoroughly serviced.  Bias and DC offset was set, every input, output, switch and lamp is operating perfectly.

Second to the TOTL SA-7100, the SA-775  was one of the big (literally) Toshiba receivers that were way under-appreciated by the vintage HiFi community until they were discovered to be of much higher quality than previously thought.  They sometimes don't bring the higher prices as some of the more well known brands but, regardless, they were definitely very well built and sound fantastic. 

The SA-775 puts out a minimum 75 watts per channel into 8 ohms and a hefty 105 watts per channel into 4 ohms.  It has a neat flip-open door on the lower section of the faceplate for the tone / balance controls and switches. Overall the SA-775 has a very handsome exterior design and excellent performance.  The four large backlit meters have new LEDs.  When viewed in person, the SA-775 is substantially larger than most of the competition in their class.
Tech info from Toshiba:
With a parallel push-pull connection and low noise design, the SA-775 has two independent power supplies with completely separate transformers for the tuner and class A operation preamp on the one hand, and the power amp, where power supply voltage fluctuates with output signal level, on the other. This results in clear undistorted sound by preventing transient distortion arising from power supply fluctuation feeding back to the preamp when output levels change.

Furthermore, transient response characteristics have been improved by lowering power supply impedance thanks to the use of 15,000uF caps and large transformer.

This volume control is a 32-step precision attenuator type. Two-step audio muting adds to fine volume adjustment capability.

In the phono equalizer section, a high phono overload level of 350mV is attained with a ±35V high voltage power supply while RIAA deviation is kept to a mere ±0.2 dB by means of precision components. Phono S/N level is a high 80dB thanks to strictly selected low noise transistors.

Not only is the unit protected against shorted speaker terminals, the speakers themselves are also protected by a circuit that operates should DC drift appear in the amplifier. Furthermore, relay operated muting prevents disturbing speaker noise when the power is turned on and off.

The left and right channel output power meters feature logarithmically compressed scales that allow direct readings from lowest to highest levels.

The advanced front-end design, incorporating MOS FET, RF amplifier, and a 4 ganged frequency linear variable capacitor provides extremely high sensitivity and low intermodulation distortion.

Basic specs:
Frequency response: 20Hz to 20kHz
THD: 0.05%
Speaker load impedance: 4 ohms (minimum)
Dimensions: 22"W x 7.5"H x 18.1"D
Weight: 41 lbs

About Toshiba...
Today, most recognize the name Toshiba primarily because of its monster class SA-7150 with its massive power at 150 watts per channel.  But, back in the early 70s, when HiFi dealers took on the Toshiba audio product lines, the salesmen considered them a second-level product line to the Marantz, Pioneer, Sony , etc. However, as time went on and technicians began to open them to see inside, they spread the word and slowly, people started to change their minds. 

At the time, most Toshiba, Sanyo and other similar brands were associated with clock radios, and similar little devices that showed up in various stores that normally didn't sell hifi gear.

For the dealer, Toshiba was agressively priced so that there was better margin in their products, which translated to higher profits. This was because Toshiba didn't advertise or get product reviews from the audio magazines. Today, this explains why Toshiba is less known in general about the very good quality in their stereo equipment.
In fact, their gear was quite good, performed as good as the big-name gear and still does today - when you can find them. Because of their low key marketing stance, it's doubtful their sales volumes were anywhere near those of Sony, Pioneer, etc.

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